Major institutional collaboration with the National Museum of Women in the Arts (Washington) and MSK Gent, as part of The Flemish Manuscript — for distribution on social feeds.
The essay explores the work of Clara Peeters for a major international exhibition — part of the exhibition’s digital programming, and a chapter of The Flemish Manuscript, commissioned by the Government of Flanders.
Clara Peeters was among the first generation of Flemish still-life painters — one of the few women working professionally in seventeenth-century Antwerp, celebrated for banquet pieces in which her own reflection appears in pewter and glass, and the first woman given a solo exhibition at the Prado. Her rediscovery is one of the great correction-stories in art history — and a story the National Museum of Women in the Arts exists to tell.
Each essay is an algorithmic essay — a short film and writing in the sequence that constitutes Codex Algorithm, the major conceptual artwork of Matthew Olivier. The work is made in the algorithmic feed itself — the medium the artist claims for the work — and composed for that feed: made for it, not adapted to it. All essays are written by the artist; the narrator’s voice is rendered through synthesis as a deliberate mask.
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